LIGHT AND DARK - ART PERCUSSION ENSEMBLE

LIGHT AND DARK (CVLD196)

Author: Massimo Malaguti, Massimo Pastore
Performer: ART PERCUSSION ENSEMBLE

Tracks --> INCLUDES 2 DIFFERENT CDs

CD 1 - “Light” Total Time 50:28
01 - Wind Sketch II 5:54
02 - Cadença para Berimbao 3:51
03 - Afro-amero 4:57
04 - Birdland 5:20
05 - Curupira 2:39
06 - Iara 3:31
07 - Saci Pererê 3:05
08 - Uirapurú 3:15
09 - Mula sem cabeça 3:09
10 - Why Not! 3:34
11 - Drum Concerto 11:06

CD 2 - “DARK” Total Time 48:13
01 - PreludE from English Suite BWV 807 5:12
02 - Mimesis 8:15
03 - moderato 3:12
04 - slow 4:05
05 - moderato allegro 3:05
06 - Metal-mente 6:20
07 – Kecak 12:00
08 - Ionisation 6:00

Notes

The title “LIGHT & DARK” refers to the juxtaposition of different musical genres, between "light and serious", a multifaceted abstract percussion blending sounds of nature, dance, folklore, legends, and the severe sonic architectures from J. S. Bach to the present day. In the "LIGHT" CD, one can appreciate Keiko Abe's "Wind Sketch II" (Scherzi del Vento), a Japanese composer often inspired by natural events in her music. Cadença per Berimbau by Ney Rosauro focuses on the chordophone percussion instrument of African origin used in Brazil in the acrobatic dance Capoeira. Afro-Amero by Phil Faini is characterized by deep roots in the percussion of the 6/8 rhythms of the African Yoruba tribe. This is followed by pleasant arrangements of Birdland by Joseph Zawinul, ex-Weather Report, and Why not! by the virtuoso pianist of Puerto Rican origin Michael Camilo. With Ney Rosauro's Mitos Brasileiros, we delve into Brazilian mysteries and legends, with the narration of its bizarre characters represented by colorful rhythms, sounds, and instruments. The CD concludes with a solo jazz drum performance accompanied by a small percussion orchestra in John Beck's Drum Concerto. The "DARK" CD, on the other hand, presents a program with a distinct classical and contemporary feel. It begins with the sonic architecture of J. S. Bach in this Prelude in the atypical version for two marimbas; it continues with the spatialized timbral interpenetrations of sound tubes, glasses, and vibraphone in Mimesis, a piece composed for the Ensemble by Giovanni Bonato, and with Lou Harrison's unique experience in 1942, experimenting with references to Javanese music with sounds obtained from recycled objects such as trash cans, disc brakes, watch and truck springs… Following this: Metal-mente, a serial piece for vibraphone and only percussive and rubbed metallophones with curious but effective methods, dedicated to Edoardo Gioachini and the Ensemble; Kecak, "the dance of the chattering monkeys" by the Japanese Akira Nishimura, inspired by one of the dramaturgies of the island of Bali and based on four sequences that intertwine like a rhythmic belt coupled with a pair of timpani and vibraphone that develop a dialogue similar to the Indian Raga. It concludes with a "live" version of Ionisation by Edgard Varèse for thirteen performers, described by Curt Sachs as "the greatest rhythmic inspiration ever composed," an absolute masterpiece, completed in 1932, characterized by an incessant explosion of imagination and timbral creativity within traditional constructive elements.

Production: Conservatorio Statale di Musica “Cesare Pollini” / Velut Luna
Executive producer: Marco Lincetto
Musical producer: Massimo Pastore
Recording, Editing & Mastering engineer: Matteo Costa
Design: l’image
Photo: Arrigo Axia
Marketing: Francesco Pesavento
Sales Manager: Moreno Danieli & Patrizia Pagiaro
Press Agent: Emanuela Dalla Valle
World Wide Contacts: Cristiana Dalla Valle